in/ormafion,  mar 


\ 


Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/mezzotintoengravOOunse 


Geo.  Romney 


Henry  Meyer 


laUj)  Hamilton 

as  Nature 


MEZZOTINTO  ENGRAVING 


NEW  YORK 

J®.  fenoebler  &  Co, 

FIFTH  AVE.  &  34TH  ST. 
MCMVI 


PUBLISHED  BY 

j&nocfcler  &  Co., 

355  FIFTH  AVENUE,  N.  Y. 


COPYRIGHT  MCMVI 


INTRODUCTION 


This  little  pamphlet  is  intended  for  those 
who  are  interested  in  old  Mezzotint  En¬ 
gravers  and  their  works,  but  who  have  only  a 
slight  knowledge  of  them;  it  describes  in  a 
general  way  how  the  plates  and  prints  are 
made,  and  gives  such  information  as  may 
prove  useful  to  those  who  are  making,  or  in¬ 
tending  to  make,  a  collection  of  prints  in 
black  and  in  color. 


It  is  conceded  that  Ludwig  Von  Siegen,  Justarp 
who  resided  at  Amsterdam  in  1642,  dis- 
covered  and  completed  in  the  month  of 
August  of  that  year,  a  portrait  of  Amelia 
Elizabeth,  Dowager  Landgravine  of  J^Birnta 
Hesse,  in  mezzotint,  this  being  the  first  ^on 
engraving  of  the  kind  known.  In  1654 
this  engraver  met  Prince  Rupert  at  Brus¬ 
sels,  and  to  him  confided  his  secret. 


3 


IjMStorp, 

etc. 

(canttnueU) 


Prince  Rupert  afterwards  disclosed  it  to 
Wallerant  Vaillant  and  to  Evelyn  and 
Sherwin  when  he  was  in  England.  Theo¬ 
dore  Caspara  Fustenbergh  was  also  an¬ 
other  artist  who  obtained  the  knowledge, 
for  there  is  a  work  by  him  dated  the  same 
year  as  the  first  one  by  Prince  Rupert 
(1656).  The  art  then  passed  from  one  to 
another,  there  being  engravings  by  men 
who  flourished  during  the  latter  half  of 
the  17th  century,  among  them  John 
Thomas,  called  Thomas  of  Ypres  (his 
earliest  mezzotint  is  dated  1658)  ;  John 
Fredrich  Leonard,  1669;  John  Van  Somer, 
1668;  J.  Vander  Brugen,  1681.  In  1668 
Prince  Rupert  went  to  England,  and 
nine  years  afterwards,  •  in  the  hands  of 
William  Sherwin,  the  development  of  the 
new  mezzotinto  engraving  began  in  the 
country  where  it  was  destined  to  rise  to 
its  highest  state.  Sherwin’s  first  print  is 
dated  1669.  There  were  a  number  of  en¬ 
gravers  at  this  period  who  were  success¬ 
ful  in  producing  good  work,  the  most 
noted  being  Place,  Gascar,  Blootelling, 
Valck,  and  J.  Smith.  At  the  opening  of 


4 


the  18th  century  J.  Smith  was  the  foremost 
artist  in  mezzotinto  engraving.  When 
this  style  of  art  had  become  concentrated 
in  England,  artists  flocked  there  from 
other  countries;  from  France,  J.  Simon, 
who  was  considered  the  rival  of  Smith ; 
the  elder  Faber,  from  Flolland.  A  little 
later  other  engravers  changed  their  style 
from  line  to  mezzotinto,  such  as  young 
Faber,  G.  White  and  Pelham;  the  last 
artist  came  to  America  and  introduced  his 
art  here.  In  the  closing  years  of  the  first 
half  of  the  18th  century  mezzotinto  en¬ 
graving  declined  very  much  in  England, 
and  did  not  revive  until  about  1753-54, 
when  new  blood  was  instilled  into  the 
practice  of  the  art  by  the  work  of  artists 
of  the  Irish  school,  such  as  MacArdell, 
who  engraved  the  earliest  plate  from  a 
portrait  by  Sir  Joshua  Reynolds  in  1746, 
Houston,  Purcell,  and  subsequently 
Dixon,  Fisher,  J.  Watson,  T.  Watson, 
J.  R.  Smith,  Dickinson,  Valentine  Green, 
Dean,  and  Walker.  Most  of  these  en¬ 
gravers  became  masters  of  the  art,  and  as 
the  great  portrait  painters  of  the  English 


etc. 

(conttmteU) 


5 


^tdtorp,  school  lived  and  flourished  at  the  same 
etc.  time  examples  by  the  masters  of  this 

(conttnucU)  Peri°d — Reynolds,  Hoppner,  Romney, 
Gainsborough,  Ramsay,  Abbott,  Beechey, 
Copley,  Opie,  and  Stewart — were  copied 
and  engraved,  often  in  the  same  year  that 
they  were  painted.  These  engravings 
have  not  naturally  deteriorated  as  time 
has  passed  on.  This  cannot  be  said  of 
many  of  the  originals,  for  ink  and  paper 
are  more  enduring  than  canvas  and  paint. 
It  would  seem  as  if  the  artist-engravers, 
stimulated  by  the  extraordinary  power  of 
the  painters  of  this  period,  had  been  en¬ 
abled  to  surpass  in  their  art  for  the  pur¬ 
pose  of  transcribing  in  all  their  entirety 
the  pictures  they  imitated.  To  quote  a 
remark  made  by  Sir  Joshua,  after  he  had 
seen  a  fine  engraving  by  MacArdell  after 
one  of  his  paintings:  “By  this  man  I  shall 
be  immortalised/’  Other  engravers  at 
this  period  worthy  of  notice  were  P. 
Dawe,  Dunkarton,  Grozer,  Hodges,  Hud¬ 
son,  Jones,  Judkins,  Laurie,  Duponte,  the 
nephew  of  Gainsborough;  Haward  and 
Spilsbury.  There  were  less-known  paint- 


6 


ers,  such  as  Wright  of  Derby  and  Van 
Huysum,  after  whose  pictures  Earlom 
and  Pether  engraved  some  remarkably 
brilliant  and  effective  prints.  It  seems 
but  natural  to  believe  that  in  possessing 
and  studying  works  by  these  masters  of 
mezzotinto  engraving  we  are  enabled 
more  thoroughly  to  live  in  the  time  of  the 
painters  and  understand  their  works  more 
perfectly,  and  at  the  same  time  to  nour¬ 
ish  and  improve  our  taste.  Although  no 
living  engraver  can  compete  in  excellence 
with  the  great  mezzotint  engravers  of  the 
latter  part  of  the  eighteenth  century, 
England  possessed,  till  1887,  one  who 
was  almost  as  great  as  any  of  those ; 
namely,  Samuel  Cousins.  Born  in  1801, 
his  transcripts  of  Lawrence  and  Land¬ 
seer’s  paintings  are  works  of  the  highest 
art.  The  following  is  a  partial  list  of  the 
prominent  and  less  noted  engravers,  not 
mentioned  above,  who  flourished  at  the 
end  of  the  18th,  and  beginning  of  the 
19th,  century:  Barney,  J.  Ward,  W1 
Ward,  Young,  G.  Dawe,  H.  Meyer,  C. 
Turner,  G.  Clint,  S.  W.  Reynolds,  H. 


{flfiitarp, 

etc. 

(continue!!) 


7 


|)t£ itorp, 
etc. 

(continued) 


Dawe,  W.  Say,  T.  Lupton,  and  T.  Hodg- 
etts. 

( For  much  of  the  above  information  we  are 
indebted  to  the  writings  of  John  Chaloner 
Smith  and  Dr.  Edward  Hamilton.) 


8 


The  instruments  used  in  mezzotinto  en¬ 
graving  consist  of  the  cradle  or  rocking- 
tool,  the  scraper,  the  roulette  and  the 
burnisher. 

The  plates  intended  for  engraving  should 
be  of  the  best  copper. 


Cools! 

anO 

^Hctal 


9 


The  Engine 


=<Sev trail  - 


10 


<ZTl)p  Cools  ttscli  tn  JHe^ottnt  ®ng;raOin£  tn  1688 


Sir  Joshua  Reynolds  J.  R.  Smith 

Lafip  Catherine  JjJelljam  Clinton 


Mezzotinto  is  executed  by  covering  the  ^Hc^ottnta 
surface  of  the  plate,  using  the  cradle  or 
rocking-tool,  with  lines  sunk  in  it  so  close 
to  each  other,  in  many  different  direc¬ 
tions,  that,  if  printed,  it  would  give  a 
black  impression  ground  from  the  whole. 

When  this  work  is  completed,  the  sub¬ 
ject  is  traced,  and  the  work  is  commenced 
by  scraping  and  then  burnishing  the 
highest  lights,  after  which  the  secondary 
tones  are  scraped  away,  and  so  on,  pro¬ 
ceeding  gradually  from  light  to  dark,  and 
leaving  for  the  deepest  shades  the  ground 
untouched. 

A  mezzotint  plate  is  the  reverse  of  an 
etched  plate,  for  in  the  former  the  blacks 
are  removed,  and  the  latter  they  are  bit¬ 
ten  in. 


The  prepared  ink  is  rubbed  into  the  plate,  JJrinttn# 
and  then  the  surface  is  wiped  off,  leaving  ut 
the  ink  only  in  the  sunken  parts.  The  fclactt 
plate  paper  is  then  placed  upon  the  plate, 
and  it  is  passed  through  a  heavy  copper- 


11 


printing; 

in 

3Blarit 

(continueti) 


Printing; 

in 

Colors 

from 

0ne 

Plate 


plate  hand-press.  This  forces  the  paper 
into  the  engraved  part  of  the  plate,  trans¬ 
ferring  the  ink  to  it.  In  a  mezzotinto 
plate,  the  shading  is  not  a  solid  mass,  as 
can  be  seen  by  examining  a  print  with  a 
magnifying  glass.  There  will  be  found 
cross  lines  with  the  paper  showing  be¬ 
tween.  This  gives  a  transparency  of 
light  and  shade  which  could  not  be  pro¬ 
duced  in  any  other  way. 


The  process  of  printing  in  colors  is  the 
same  as  printing  in  black,  only  different 
colored  inks  are  rubbed  into  the  plate  in 
their  proper  places,  blending  where  nec¬ 
essary,  the  cleaning  and  printing  being 
the  same  as  described  above.  This,  one 
can  see,  requires  an  immense  amount  of 
artistic  knowledge,  care  and  labor,  the 
plate  requiring  fresh  coloring  for  each  im¬ 
pression.  The  first  record  of  printing  in 
color  is  in  1720.  The  artist’s  name  was 
Jacob  Le  Blond.  His  print  was  taken 
from  a  mezzotint  plate.  Since  then  there 


12 


was  a  gradual  improvement  until  color  printing; 
printing  arose  to  its  highest  perfection  in  ux 
the  latter  part  of  the  18th  century.  Owing  (£0j0r6 
to  the  great  amount  of  care  and  labor  re¬ 
quired,  the  art  was  not  practised  to  any 
extent  in  its  most  perfect  form  after  the 
first  part  of  the  19th  century. 


from 

0ne 

plate 

(continneH) 


The  proofs  of  engravings  when  approach-  States 
ing  completion  cannot  properly  be  called 
states,  they  are  what  are  called  “Engrav¬ 
er’s  Proofs.”  When  the  plate  is  finished 
to  the  satisfaction  of  both  artists,  the  first 
impression  struck  off  the  plate  is  an  Art¬ 
ist’s  Proof.  Each  Engraver’s  Proof  is 
naturally  unique.  The  usual  custom  was 
to  publish  a  number  of  impressions  with 
etched  letters,  or  before  letters.  These 
impressions  were  called  the  first  published 
state,  then  followed  the  second  and  third 
states.  But  in  regard  to  these  states,  as 
a  matter  of  fact,  there  is  no  well-defined 
rule  to  be  applied.  It  is  impossible  within 


13 


States  the  limits  of  a  few  paragraphs  to  convey 
(conttntteiO  any  exact  knowledge  on  so  diffuse  a  sub¬ 
ject. 


A  popular  plate  was  often  much  abused, 
able  After  leaving  the  hands  of  the  original 
IDrtnbS  publisher  (who  had  taken  off  what  he  con¬ 
sidered  as  many  impressions  as  the  plate 
would  bear),  it  would  come  into  the  pos¬ 
session  of  some  printseller  or  publisher 
less  scrupulous,  would  be  retouched,  and 
perhaps  renamed,  or  the  lettering  all  tak¬ 
en  off,  and  false  proofs  issued.  This  was 
often  done  by  placing  a  piece  of  thick 
paper  over  the  letters  during  the  printing, 
as  well  as  by  erasing  the  names  from  the 
copper.  These  deceptions  have  even  been 
tried  in  present  times,  not  only  on  the 
plates,  but  on  the  impressions  themselves. 


tljc  One  may  ask,  why  the  old  mezzotints  are 
©IH  Sire  so  much  sought  after  and  why  they  com- 
th  aft  at  mand  such  high  prices?  The  answer  is: 
^  Because  they  are  the  finest  and  best  prod- 


14 


ucts  of  a  most  beautiful  art ;  that  they 
have  improved  with  time;  that  they  were 
made  at  a  period  when  there  was  less  of 
the  commercial  spirit  prevalent  and  more 
of  the  artistic ;  that  few  perfect  impres¬ 
sions  were  printed,  and  that,  owing  to  the 
carelessness  of  many  of  the  older  col¬ 
lectors,  few  were  preserved  without  blem¬ 
ish.  It  is  the  perfect  print  which  is  nowa¬ 
days  desired  and  competed  for.  There¬ 
fore,  in  selecting,  care  should  be  taken  to 
choose  those  which  are  free  from  blemish 
and  which  are  brilliant  and  clear  in  print¬ 
ing.  It  was  not  considered  possible  to 
print  more  than  one  hundred  perfect  im¬ 
pressions  from  one  plate.  Of  some  beau¬ 
tiful  plates  engraved  for  private  individu¬ 
als  and  circulation  the  impressions  num¬ 
bered  less  than  fifty. 


W\)V  tlje 
©IU  &re 
tlje  3Se6t 
(contimiea) 


15 


As  there  are  a  number  of  methods  for 
grounding  a  plate,  which  in  their  results  re¬ 
semble  mezzotint  we  give  herewith  descrip¬ 
tions  of  those  well  known  and  often  seen: 

Ctd)tn#  A  copper  plate  is  prepared  and  burnished, 
the  same  as  a  mezzotint  plate;  the  sur¬ 
face  of  it  is  covered  with  a  varnish  which 
is  not  affected  by  acid.  With  a  pointed 
instrument  called  an  etching  needle,  this 
varnish  is  cut  through,  and  wherever  the 
copper  is  uncovered  the  acid  bites.  The 
longer  the  acid  remains  upon  the  plate 
the  deeper  the  lines  will  be.  Thus  one 
can  understand  how  the  lights  and  darks 
are  made  which  go  to  make  a  picture. 

Potcn  A  photogravure,  as  the  word  suggests, 
(jratotite  is  an  engraving  produced  by  the  aid  of 
photography.  The  processes  of  all  photo¬ 
engraving  primarily  depends  upon  the  fact 
that  when  soluble  gelatine  is  mixed  with 
bichromate  of  potash  and  exposed  to  the 
light  it  becomes  insoluble. 

To  produce  a  photogravure  then  a  thin 
film  of  bichromatized  gelatine  is  exposed  to 

16 


0tclnti9; 

Caohs 


poto,  the  light  beneath  a  reversed  negative.  Under 
gratmre  ^ie 
(continue!!) 

under  the  tones  and  shadows  remain  un¬ 
affected.  The  film  is  then  transferred  to  a 
highly  polished  copper  plate  which  has  been 
“grounded”  with  a  fine  grain  of  powdered 
asphalt,  dusted  evenly  over  it  and  fixed 
by  heat.  The  film  is  then  “developed”  by 
washing  in  warm  water.  The  soluble  gela¬ 
tine  representing  the  darks  is  washed  away, 
the  insoluble  representing  the  light  remains 
to  act  as  a  varying  resistant  to  the  etching 
mordant  to  whose  action  the  plate  is  now 
exposed.  The  usual  mordant  is  a  solution 
of  perchloride  of  iron  and  this  penetrates 
the  film  with  comparative  ease  in  those 
parts  representing  the  shades  where  there 
is  little  or  no  gelatine  and  thus  bites  into 
the  copper  and  around  each  infinitesimal 
grain  of  asphalt  to  a  considerable  depth.  In 
the  parts  representing  the  tonal  shades, 
however,  where  the  gelatine  is  thicker,  the 
mordant  penetrates  with  more  and  more 
difficulty  leaving  the  ground  in  the  highest 
lights  practically  untouched. 


lights  or  clearer  portions  of  the  reversed 
ative  the  film  is  acted  upon  by  the  light 
rendered  insoluble  while  those  portions 


Sir  Thomas  Gainsborough  Gainsborough  Dupont 

©Itot  princesses 


When  the  biting  has,  in  the  judgment  of 
the  engraver,  proceeded  far  enough,  the 
gelatine  and  the  asphalt  ground  are  cleaned 
off  and  the  plate  is  ready  for  the  printer. 

A  solution  of  resin  in  spirits  of  wine  is  Aquatint 
poured  over  the  prepared  copper  plate  (Srouitti 
(prepared  the  same  as  for  a  mezzotint) 
and  drained  off  at  one  corner.  This  mix¬ 
ture  when  dry  will  leave  a  deposit  of 
resin  in  minute  specks  (covering  the  plate 
evenly  when  properly  done),  which  ad¬ 
here  to  the  plate  when  slightly  heated. 

Acid  is  then  applied ;  this  eats  into  the 
spaces  around  each  speck  of  resin.  With 
a  strong  magnifying  glass  one  can  de¬ 
tect  this  process  by  the  shape  of  the  dots. 

The  copper  plate  is  coated  with  oil  and  Umlpljur- 
powdered  sulphur  is  dusted  over  it ;  this  ttnt 
acts  quickly,  but  the  ground  is  very  delir 
cate  and  needs  to  be  bitten  with  acid, 
otherwise  only  a  few  impressions  can  be 
obtained. 

The  plate  is  covered  with  a  liquid  ground,  Isanti grain 
made  by  mixing  wax  gum  and  resin,  the 
same  as  in  etching.  When  the  plate  is 

19 


grain  held  face  down  over  a  gas  jet  this  ground 
(conttnue'fl)  becomes  mixed  with  the  black  smoke  from 
the  flame,  making  a  jet  black  surface 
which,  when  dry,  will  resist  acid.  A  piece 
of  sandpaper  is  then  pressed  face  down¬ 
wards  into  it,  leaving  little  holes  in  the 
ground.  The  plate  is  then  immersed  in 
acid  which  bites  wherever  the  holes  are, 
into  the  plate. 

In  printing  from  the  plates  prepared  as 
above  described  the  result  is  not  unlike  a 
mezzotint,  which  is  a  series  of  dots.  The 
dots,  however,  in  pure  mezzotint  always 
have  a  burr,  while  the  others  do  not. 

All  these  processes  require  acid,  while  in 
a  pure  mezzotint  no  acid  is  used. 

i§>oft  Soft  ground  etching  or  Gravure  dans  du 
(55rotnitt  crayon,  as  the  French  term  it,  was  very 
0tc!jtng  popular  in  the  eighteenth  Century.  Upon 
the  copper  plate  is  laid  an  etching  ground 
of  a  much  softer  and  oilier  nature  than  the 
ordinary.  Over  this  is  laid  a  sheet  of  thin 
paper  carefully  attached  round  the  edges. 
On  this  the  drawing  is  made  in  soft  lead 
pencil  used  with  a  bold  firm  stroke  and 
even  pressure.  When  the  paper  is  carefully 


20 


removed  it  carries  with  it  the  soft  ground  J§>oft 
which  adheres  to  the  reverse  side  only  0rounlJ 
where  the  pressure  of  the  pencil  has  been 
aoplied.  The  plate  is  then  bitten  in  the  /  . 

usual  manner  and  the  effect,  when  printed,  ' 

closely  resembles  that  of  a  cravon  drawing. 


An  etching  ground  is  laid  upon  the  cop-  Stipple 
per  plate,  then  with  an  etching  needle  the  (Engaging' 
outline  of  the  drawing  is  pricked  through 
the  wax,  with  a  series  of  dots ;  afterwards 
the  shadows  are  made.  The  plate  is  bit¬ 
ten  as  is  an  etching.  The  wax  is  then 
removed  and  the  dots  are  re-entered  with 
a  specially  shaped  engraver,  known  as  a 
stipple-graver. 


ist.  Printing  from  the  Grounded  Plate. 
2d.  Printing  from  the  Grounded  and 
Etched  Outline  Plate. 

3d.  Printing  from  the  finished  plate. 
These  are  taken  to  prove  the  work,  and 
are  called  trial  proofs. 


J3rogmfg 
of  tlje 
Jjlate 


21 


Etching  Tools. 

Hammer 

Scorper 

Oil  Rubber 

Dabber 

Roller 

Needle 

Acid 

Burnisher 
Scraper 
Plate  Callipers 
Roulettes 


Dry  Point  Tools. 

Needle 

Burnisher 

Scraper 

Mezzotint  Tools. 

Scorper 

Rocker  or  Cradle 
Scraper 
Burnisher 
Roulettes 


Stipple  Tools 

Stipple  Engraver 

Burnisher 

Scraper 


22 


The  following  list  comprises  some  of  the  prices 
which  fine  impressions  have  brought  at  auction  dur¬ 
ing  the  last  few  years.  These  serve  to  show  the 
great  admiration  and  desire  to  procure  the  best  ex¬ 
ponents  in  this  style  and  period  of  engravings  which 
prevail  in  England  at  the  present  time. 


Mrs.  Carnac 

After  Reynolds,  by  J.  R.  Smith,  before 
title  with  publication  line  and  artists’ 
names  in  scratched  letters,  $6,090 

Duchess  of  Rutland 
After  Reynolds,  by  V.  Green,  before  title 
with  publication  line  and  artists’  names 
in  scratched  letters,  $5,250 

Lady  Catherine  Pelham  Clinton 

After  Reynolds,  by  J.  R.  Smith,  inscrip¬ 
tion  in  scratched  letters,  $4,945 

Lady  Betty  Delme 

After  Reynolds,  by  V.  Green,  before  title 
with  publication  line  and  artists’  names 
in  scratched  letters,  $4,830 

Lady  Bampfylde 

After  Reynolds,  by  T.  Watson,  1st  pub¬ 
lished  state,  before  name  of  personage,  $4,620 


23 


The  Hon’ble.  Miss  Monckton 

After  Reynolds,  by  Jacobe,  first  state,  $4,500 
Mrs.  Davenport 

After  Romney,  by  J.  Jones,  1st  state, 
with  untrimmed  margins,  $3,255 

Lady  Crosbie 

After  Reynolds,  by  W.  Dickinson,  be¬ 
fore  the  title,  with  publication  line,  and 
artists’  names  in  scratched  letters,  $3,045 

The  Ladies’  Waldegrave 

After  Reynolds,  by  V.  Green,  before 
names  of  personages  with  publication 
line  and  artists’  names  in  scratched 
letters,  $2,940 

Mrs.  Michael  Angelo  Taylor,  as  Miranda 
After  Hoppner,  by  W.  Ward,  before 
inscription,  $2,877  5° 

Countess  of  Salisbury 

After  Reynolds,  by  V.  Green,  before 
title,  with  publication  line  and  artists’ 
names  in  scratched  letters,  $2,625 

The  Hon’ble.  Mrs.  Beresford,  Mrs.  Gardi¬ 
ner  and  Vicountess  Townshend 

After  Reynolds,  by  T.  Watson,  before 
inscription,  $2,570 


24 


Lady  Jane  Halliday 

After  Reynolds,  by  V.  Green,  before  title 
with  publication  line  and  artists’  names 
in  scratched  letters,  $2,362  50 

Vicountess  Townshend 
After  Reynolds,  by  V.  Green,  before  title, 
with  publication  line,  and  artists’  names 
in  scratched  letters,  $2,362  50 

Mrs.  Carwardine 

After  Romney,  by  J.  R.  Smith,  first 
state,  $2,257  5° 

The  Hon’ble.  Mrs.  Stanhope 
After  Reynolds,  by  J.  R.  Smith,  first 
state,  $2,152  50 

Miss  Cumberland 

After  Romney,  by  J.  R.  Smith,  first  state, 
with  inscription  in  scratched  letters,  $2,047  5° 

Lady  Hamilton,  as  Nature 

After  Romney,  by  Meyrer,  first  state,  $2,021  25 

The  Douglas  Children  and  The  Hoppner 
Children 

After  Hoppner,  by  J.  Ward,  proof  with 
titles  in  open  letters,  a  pair,  $1,890 

Lady  Heathcote,  as  Hebe 

After  Hoppner,  by  I.  Ward,  1st  state, 
inscription  in  open  letters,  $1,310 


25 


Lady  Hamilton,  as  Bacchante 

After  Reynolds,  by  J.  R.  Smith,  first 
state,  inscription  in  open  letters,  $1,625 

Duchess  of  Buccleuch  and  Daughter 
After  Reynolds,  by  T.  Watson,  first 
state,  $i,575 

Mrs.  Payne  Galwey  and  Son 

After  Reynolds,  by  J.  R.  Smith,  first 
state,  inscription  in  scratched  letters,  $1,522  50 

The  Hon’ble.  Mrs.  North 

After  Romney,  by  J.  R.  Smith,  before 
inscription,  $1,312  50 


26 


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